Dance diary. December 2012

  • Hannah O’Neill: news from Paris

Hannah O’Neill is now half way through her second year with the Paris Opera Ballet, having successfully negotiated another temporary contract at the annual examinations the company conducts each year.

In her second year with the company O’Neill has taken particular delight in performing in George Balanchine’s Serenade, part of a program of three Balanchine ballets that began the 2012‒2013 season. Sadly for her Australian admirers however, she is not coming to Sydney for the Paris Opera Ballet’s season of Giselle to be staged in January‒February. She says that, as she is still on a temporary contract, she wasn’t expecting to tour but that the bonus is that she will be performing in Paris in February in Jiri Kylian’s Kaguyahime. With a company of over 150 dancers, the Paris Opera Ballet has the luxury of being able to tour while maintaining a regular program in Paris at the same time. Kaguyahime, a spectacular piece of theatre, will be O’Neill’s first experience dancing a contemporary work since she has been in Paris.

  • Michelle Ryan: new artistic director at Restless Dance Theatre

Early in December Michelle Ryan was appointed artistic director of Restless Dance Theatre in Adelaide. Many will remember Ryan I am sure from her performance days with Meryl Tankard. She joined the Meryl Tankard Company in Canberra in 1992 and then moved to Adelaide in 1993 remaining with Meryl Tankard Australian Dance Theatre until it disbanded. More recently Ryan has been working as rehearsal director with Dance North.

For more about the history of Restless Dance, a contemporary company working with people with and without a disability, the National Library holds an extensive interview with Kat Worth, artistic director of Restless Dance 2001–2006.

  • Meryl Tankard: an original voice

Here are some shout-lines from some who have read Meryl Tankard: an original voice: ‘It has a sense of drama but also balance, and it brings Meryl and her work to life’; and ‘The best and most comprehensive study of Tankard I have read’.

  • Site news

I am always interested to see which tags are being accessed most frequently by visitors to this site. It usually changes slightly from month to month depending on what has been posted in any particular month. But it is perhaps more telling to look at which tags have been accessed over a full year. In 2012 the Australian Ballet topped the list. Here are the top ten:

  • The Australian Ballet
  • Hannah O’Neill
  • Ty King-Wall
  • Ballets Russes
  • Graeme Murphy
  • Meryl Tankard
  • Madeleine Eastoe
  • Olga Spessivtseva
  • Juliet Burnett
  • Lana Jones

Michelle Potter, 28 December 2012

Dance diary. November 2012

  • Meryl Tankard: an original voice

Following requests from a number of readers for a copy of Meryl Tankard: an original voice, which appeared in eight parts on this website between July and September, the book is now available in print form.

Please note that this is a self-published initiative and has not had the benefit of professional design; nor does it include any illustrations. Both were beyond the scope of this venture. It does however include material not published online including a preface, introduction, bibliography, index and the full list of choreographic works, updated with the addition of Cinderella (2011) for Leipzig Ballet, which will be restaged early in 2013 in Leipzig, and The Book of Revelation, the film directed by Ana Kokkinos that Tankard choreographed in 2006.

  • Canberra news

The Canberra Critics’ Circle announced its annual awards during November. The dance panel gave two awards this year. One went to Adelina Larsson ‘for her initiative in facilitating the development and performance of contemporary dance in Canberra, in particular for her work as director of  short + sweet dance, and for her collaborations with independent artists from across Australia to bring a broad spectrum of contemporary dance to Canberra’. Another went to Jordan Kelly local dancer and choreographer in musical theatre ‘for his body of work as an outstanding dancer, and consistent achievements as a talented choreographer, as evidenced in a number of musicals throughout 2012’.

In November, the ACT Government also announced its nominations for the Australian of the Year awards. At this ceremony the ACT Local Hero Award was presented to dancer and mentor, Francis Owusu. There is an enormous amount of community dance currently being practised in the ACT and Francis Owusu founded Kulture Break, a not-for-profit charitable creative arts organisation with a community focus. It acts as an outlet for young people to build self-confidence through dance.

  • Reviews: The Canberra Times

Here are links to my reviews published during November by The Canberra Times—performances by Les Ballets Trockadero de Monte Carlo and short + sweet dance. [UPDATE: Links no longer available]

  • On this site

The five most visited posts in November were: Thoughts in Pina Bausch’s ‘Rite of Spring’; ‘Icons’: the Australian Ballet; Lana Jones and Kevin Jackson dance Balanchine; ‘Concord’: the Australian Ballet; and ‘Swan Lake’: the Australian Ballet.

Michelle Potter, 30 November 2012

Meryl Tankard: an original voice. Part eight—The voice

On 30 November 2012 the content of this post was deleted.

The background to the book is, however, worth retaining:

In 2004 I began working on the manuscript of a book, Meryl Tankard: an original voice. In that year a book about Tankard was commissioned by the National Library of Australia as part of a series called Australian Lives. The commissioning letter said, in part, that the book should:

… present a life of Meryl Tankard along with an account of her career and achievements … provide insights into her way of working, her acknowledged successes, her less well-known career highlights and her private life … [cover] key personal and professional associations … explore why she has, from time to time, been embroiled in some difficulties and controversies.

For a variety of reasons the Library decided not to proceed with publication of the manuscript as a title in the Australian Lives series. A proposal was considered again in 2008 after I had added to and significantly enhanced the manuscript once I no longer needed to adhere to a limit of 25,000–30,000 words. Again the Library decided not to proceed, with the final decision being made on the grounds that the publication would not attract enough public interest for sales to cover costs. Eventually, in 2011, I found a publisher who thought publication was a viable proposition, but other circumstances relating to copyright and permissions, which I was unable to secure, meant that once again publication did not proceed.

However, a huge amount of research went into the manuscript. Some of it was conducted overseas and some of it foregrounded works by Tankard that have not been seen in Australia or that were one-off shows. Extensive research also went into putting together a list Tankard’s choreographic works from 1977 to 2009. In addition, many, many people generously shared thoughts and material with me. It seemed a cruel fate for this research not to see the light of day. So, I published the major part of it on this website. I am delighted that the book is now available in expanded form as a self-published print production—unfortunately though without images! The print edition includes the eight chapters originally posted on this website plus a preface, introduction, bibliography, index and an updated list of choreographic works. Ordering details are at this link.

Michelle Potter, 30 November 2012

Meryl Tankard: an original voice. Part five—Adelaide

On 30 November 2012 the content of this post was deleted.

Following requests from a number of readers for a copy of Meryl Tankard: an original voice, the book is now available in print form. The print edition includes the eight chapters originally posted on this website plus a preface, introduction, bibliography, index and an updated list of choreographic works. Ordering details are at this link.

The background to the book is, however, worth retaining:

In 2004 I began working on the manuscript of a book, Meryl Tankard: an original voice. In that year a book about Tankard was commissioned by the National Library of Australia as part of a series called Australian Lives. The commissioning letter said, in part, that the book should:

… present a life of Meryl Tankard along with an account of her career and achievements … provide insights into her way of working, her acknowledged successes, her less well-known career highlights and her private life … [cover] key personal and professional associations … explore why she has, from time to time, been embroiled in some difficulties and controversies.

For a variety of reasons the Library decided not to proceed with publication of the manuscript as a title in the Australian Lives series. A proposal was considered again in 2008 after I had added to and significantly enhanced the manuscript once I no longer needed to adhere to a limit of 25,000–30,000 words. Again the Library decided not to proceed, with the final decision being made on the grounds that the publication would not attract enough public interest for sales to cover costs. Eventually, in 2011, I found a publisher who thought publication was a viable proposition, but other circumstances relating to copyright and permissions meant that once again publication did not proceed.

However, a huge amount of research went into the manuscript. Some of it was conducted overseas and some of it foregrounded works by Tankard that have not been seen in Australia or that were one-off shows. Extensive research also went into putting together a list Tankard’s choreographic works from 1977 to 2009. In addition, many, many people generously shared thoughts and material with me. It seemed a cruel fate for this research not to see the light of day. So, I published the major part of it on this website. I am delighted that the book is now available in expanded form as a self-published print production.

Michelle Potter, 30 November 2012

Meryl Tankard: an original voice. Part four—Canberra

On 30 November 2012 the conent of this post was deleted.

Following requests from a number of readers for a copy of Meryl Tankard: an original voice, the book is now available in print form. The print edition includes the eight chapters originally posted on this website plus a preface, introduction, bibliography, index and an updated list of choreographic works. Ordering details are at this link.

The background to the book is, however, worth retaining:

In 2004 I began working on the manuscript of a book, Meryl Tankard: an original voice. In that year a book about Tankard was commissioned by the National Library of Australia as part of a series called Australian Lives. The commissioning letter said, in part, that the book should:

… present a life of Meryl Tankard along with an account of her career and achievements … provide insights into her way of working, her acknowledged successes, her less well-known career highlights and her private life … [cover] key personal and professional associations … explore why she has, from time to time, been embroiled in some difficulties and controversies.

For a variety of reasons the Library decided not to proceed with publication of the manuscript as a title in the Australian Lives series. A proposal was considered again in 2008 after I had added to and significantly enhanced the manuscript once I no longer needed to adhere to a limit of 25,000–30,000 words. Again the Library decided not to proceed, with the final decision being made on the grounds that the publication would not attract enough public interest for sales to cover costs. Eventually, in 2011, I found a publisher who thought publication was a viable proposition, but other circumstances relating to copyright and permissions meant that once again publication did not proceed.

However, a huge amount of research went into the manuscript. Some of it was conducted overseas and some of it foregrounded works by Tankard that have not been seen in Australia or that were one-off shows. Extensive research also went into putting together a list Tankard’s choreographic works from 1977 to 2009. In addition, many, many people generously shared thoughts and material with me. It seemed a cruel fate for this research not to see the light of day. So, I published the major part of it on this website. I am delighted that the book is now available in expanded form as a self-published print production.

Michelle Potter, 30 November 2012

Meryl Tankard: an original voice. Part three—Return to Australia

On 30 November 2012 the content of this post was deleted.

Following requests from a number of readers for a copy of Meryl Tankard: an original voice, the book is now available in print form. The print edition includes the eight chapters originally posted on this website plus a preface, introduction, bibliography, index and an updated list of choreographic works. Ordering details are at this link.

The background to the book is, however, worth retaining:

In 2004 I began working on the manuscript of a book, Meryl Tankard: an original voice. In that year a book about Tankard was commissioned by the National Library of Australia as part of a series called Australian Lives. The commissioning letter said, in part, that the book should:

… present a life of Meryl Tankard along with an account of her career and achievements … provide insights into her way of working, her acknowledged successes, her less well-known career highlights and her private life … [cover] key personal and professional associations … explore why she has, from time to time, been embroiled in some difficulties and controversies.

For a variety of reasons the Library decided not to proceed with publication of the manuscript as a title in the Australian Lives series. A proposal was considered again in 2008 after I had added to and significantly enhanced the manuscript once I no longer needed to adhere to a limit of 25,000–30,000 words. Again the Library decided not to proceed, with the final decision being made on the grounds that the publication would not attract enough public interest for sales to cover costs. Eventually, in 2011, I found a publisher who thought publication was a viable proposition, but other circumstances relating to copyright and permissions meant that once again publication did not proceed.

However, a huge amount of research went into the manuscript. Some of it was conducted overseas and some of it foregrounded works by Tankard that have not been seen in Australia or that were one-off shows. Extensive research also went into putting together a list Tankard’s choreographic works from 1977 to 2009. In addition, many, many people generously shared thoughts and material with me. It seemed a cruel fate for this research not to see the light of day. So, I published the major part of it on this website. I am delighted that the book is now available in expanded form as a self-published print production.

Michelle Potter, 30 November 2012

Meryl Tankard: an original voice. Part two—Pina Bausch

On 30  November 2012 the content of this post was deleted.

Following requests from a number of readers for a copy of Meryl Tankard: an original voice, the book is now available in print form. The print edition includes the eight chapters originally posted on this website plus a preface, introduction, bibliography, index and an updated list of choreographic works. Ordering details are at this link.

The background to the book is, however, worth retaining:

In 2004 I began working on the manuscript of a book, Meryl Tankard: an original voice. In that year a book about Tankard was commissioned by the National Library of Australia as part of a series called Australian Lives. The commissioning letter said, in part, that the book should:

… present a life of Meryl Tankard along with an account of her career and achievements … provide insights into her way of working, her acknowledged successes, her less well-known career highlights and her private life … [cover] key personal and professional associations … explore why she has, from time to time, been embroiled in some difficulties and controversies.

For a variety of reasons the Library decided not to proceed with publication of the manuscript as a title in the Australian Lives series. A proposal was considered again in 2008 after I had added to and significantly enhanced the manuscript once I no longer needed to adhere to a limit of 25,000–30,000 words. Again the Library decided not to proceed, with the final decision being made on the grounds that the publication would not attract enough public interest for sales to cover costs. Eventually, in 2011, I found a publisher who thought publication was a viable proposition, but other circumstances relating to copyright and permissions meant that once again publication did not proceed.

However, a huge amount of research went into the manuscript. Some of it was conducted overseas and some of it foregrounded works by Tankard that have not been seen in Australia or that were one-off shows. Extensive research also went into putting together a list Tankard’s choreographic works from 1977 to 2009. In addition, many, many people generously shared thoughts and material with me. It seemed a cruel fate for this research not to see the light of day. So, I published the major part of it on this website. I am delighted that the book is now available in expanded form as a self-published print production.

Michelle Potter, 30 November 2012

Dance diary. July 2012

  • Moya Beaver (1918‒2012)

I was saddened to learn that Moya Beaver, whose dance links go back to Louise Lightfoot and Mischa Burlakov and the First Australian Ballet in the 1930s, had died on 13 June 2012. Beaver performed in many of the Lightfoot/Burlakov productions and was partnered often by Gordon Hamilton. She later travelled to Europe where she studied in Paris with Lubov Egorova. Beaver then performed with Egorova’s Les Ballets de la jeunesse, touring with them to Denmark. On her return to Australia she danced in the J. C. Williamson musical Funny side up before settling into family life and a long career as a teacher in Sydney.

Moya Beaver and Gordon Hamilton in Le Carnaval, First Australian Ballet 1937. Photo Nikolai Ross. Courtesy National Library of Australia.

Listen to Moya Beaver’s oral history interview, recorded for the National Library in 1994.

  • International Auto/Biography Association (IABA)

In July I presented a paper, ‘The desire to conceal: two case studies’, at the 2012 IABA conference, Framing Lives.  In this paper I looked at the problems encountered in writing a biography when a subject expresses, either directly or indirectly, a desire to conceal certain aspects of his/her life and career.

  • Kathryn Bennetts

I also had the great pleasure in July of recording an oral history interview with Australian expatriate Kathryn Bennetts who recently resigned from a seven year term as artistic director of the Royal Ballet of Flanders in Antwerp. Bennetts was in Sydney briefly before returning to Europe to continue work as a much sought after teacher and as a stager of ballets, especially those of William Forsythe, for companies across the world.

  • The Oracle and Meryl Tankard

Also during July The Canberra Times published my article on Meryl Tankard’s 2009 work The Oracle, which I was inspired to write after hearing that negotiations were underway for The Oracle to tour in the United States

  • Ethan Stiefel

News came through this month too of Ethan Stiefel’s final performance on 7 July as a dancer with American Ballet Theatre. Here is a selection of online news:

Interview in TimeOut about his retirement
Article in The New York Times about his retirement
The New York Times review of the final show

I loved Roslyn Sulcas’ comments in the review: ‘His performance was daring, explosive. Pirouettes, jumps and whole phrases started at what seemed to be full power and then amazingly turned up a notch. Risk was palpable, and yet classical form was never distorted’.

After reading the reports I looked back to a letter I had written to a friend following Stiefel’s performance as Solor in La Bayadère with ABT in 2007 (with Diana Vishneva as Nikiya). I wrote: ‘Those double cabrioles in his Act I solo! So exciting to see, partly of course because he has such amazing legs in terms of strength and in terms of the long lean look they have. Then I was watching his manège of grands jetés in the same solo and was absolutely taken by the way he stretched out the front leg. You could see its trajectory carving or pushing a line in the space ahead of him.’

What a performance that was and, to my absolute surprise as I am not normally a fan of La Bayadère, I found myself sitting on the edge of my seat for the entire performance.

Steifel and his partner Gillian Murphy are now back in Wellington with the Royal New Zealand Ballet where a new production of Giselle by Stiefel, in collaboration with Johan Kobborg, is something to anticipate later this year.

Michelle Potter, 31 July 2012

Meryl Tankard: an original voice. Part one—Early journeys

On 30 November 2012 the content of this post was deleted.

Following requests from a number of readers for a copy of Meryl Tankard: an original voice, the book is now available in print form. The print edition includes the eight chapters originally posted on this website plus a preface, introduction, bibliography, index and an updated list of choreographic works. Ordering details are at this link.

The background to the book is, however, worth retaining:

In 2004 I began working on the manuscript of a book, Meryl Tankard: an original voice. In that year a book about Tankard was commissioned by the National Library of Australia as part of a series called Australian Lives. The commissioning letter said, in part, that the book should:

… present a life of Meryl Tankard along with an account of her career and achievements … provide insights into her way of working, her acknowledged successes, her less well-known career highlights and her private life … [cover] key personal and professional associations … explore why she has, from time to time, been embroiled in some difficulties and controversies.

For a variety of reasons the Library decided not to proceed with publication of the manuscript as a title in the Australian Lives series. A proposal was considered again in 2008 after I had added to and significantly enhanced the manuscript once I no longer needed to adhere to a limit of 25,000–30,000 words. Again the Library decided not to proceed, with the final decision being made on the grounds that the publication would not attract enough public interest for sales to cover costs. Eventually, in 2011, I found a publisher who thought publication was a viable proposition, but other circumstances relating to copyright and permissions meant that once again publication did not proceed.

However, a huge amount of research went into the manuscript. Some of it was conducted overseas and some of it foregrounded works by Tankard that have not been seen in Australia or that were one-off shows. Extensive research also went into putting together a list Tankard’s choreographic works from 1977 to 2009. In addition, many, many people generously shared thoughts and material with me. It seemed a cruel fate for this research not to see the light of day. So, I published the major part of it on this website. I am delighted that the book is now available in expanded form as a self-published print production.

Michelle Potter, 30 November 2012

A Bauschian experience in Berlin

Recently Roslyn Sulcas had a feature in The New York Times about the works of Pina Bausch that are being brought to London to coincide with the 2012 Olympic Games. The London program, called World Cities 2012—it opened on 6 June, celebrates the residencies Bausch and her company undertook in the last several years of Bausch’s life. The full program will show ten of the works Bausch made as a result of those residencies.

Sulcas interviewed a number of people for her feature, including the theatre director Peter Sellars. Sellars noted the following characteristic of Bausch’s choreographic process:

What is so extraordinary about Pina’s work is that she doesn’t start from the architectonics of movement; it starts from the autobiography of the dancers.  

The statement immediately reminded me of the Australian video documentary The Black Swan directed by Michelle Mahrer in 1995 about Meryl Tankard’s career, including her career as a dancer with Pina Bausch. The video contains archival footage from Walzer (1982) and shows a scene in which Tankard’s character outlines for the benefit of the audience various survival methods that might be pursued should one find oneself alone in the desert. Tankard’s movements are dynamic and her voice animated. She wears an alluring yellow and black striped dress in keeping with the elegance of the other dancers who, oblivious to Tankard, mingle with each other and eat supper from a long table. The scene has the glamour of a society party, which makes Tankard’s discussion of desert survival appear startlingly out of context.

When Tankard gives her explanation of how to get by in the desert she is drawing on her recollections of early trips she and her family made between Darwin, where she was born, and Melbourne, where the family would later settle for several years. She explains to the audience how the wearing of underpants on the head is a great way to keep flies at bay. On the spot she removes her own underpants and demonstrates how to wear this item of apparel on the head in the most effective manner, all the while maintaining her enthusiastic telling of the story and her exhortations and advice to the audience.

Tankard’s mother, when questioned later by Tankard, explained the rationale behind this action of wearing underpants on the head. She recalled that on one of the trips back to Darwin—and the family made the long trip between Darwin and Melbourne and back several times while living in Darwin—the flies had been so bad at one breakfast stop that she had had the idea of covering the children’s faces with underpants, newly-bought in Melbourne and made from fabric that ‘breathed’ as a result of the tiny holes that were part of the composition of the fabric.

Sellars’ remark clearly fits well in the case of Tankard and Walzer. And Tankard of course would go onto use a similar technique and draw on many memories from her childhood and young adulthood when making her own works in Australia.

But a recent experience suggested to me that there is another powerful element in Bausch’s work that is perhaps stronger than those autobiographical elements, as important as they are. I was standing on a busy street corner near Eberswalder Strasse station in East Berlin. It’s a vibrant area in the city—full of students and other, colourful characters. A woman was crossing towards my corner on the green light and as she approached the kerb it was apparent that she was shouting something. In between exhortations she was taking bites from a huge, round, flat loaf of bread—and I mean huge. It was larger than a standard-sized pizza base and thicker. She wore track pants and a parka and a woollen cap. A line of cyclists in a bike lane, who were stationary waiting for a green light to move forward, studiously avoided taking any notice of the woman, although she was clearly an eccentric character in a regular, busy street scene and was passing right in front of them. They were dressed for bike riding so were not all that dissimilar in dress from the woman who was the central attraction.

The scene could have come straight out of a Bausch work. The woman was as vibrant in her exhortations as any of the best of Bausch’s dancers. The incongruity of her activity involving the bread recalled the apparent non-sequiturs that often feature in a Bausch work and reminded me of, say, the scene in Palermo, Palermo where one of the dancers cooks slices of some kind of sausage on the hot-plate of an iron. The bike riders got on with their business just as those dancers in Walzer did, seemingly oblivious to what was happening in front of them. 

I began to think about how the major feature of Bausch’s works is not so much that she drew on the autobiographical stories of her dancers, but that she manipulated those stories and set them into a context. She was able to seduce the audience not because the stories were autobiographical but because through them she allowed art to imitate life.

© Michelle Potter, 9 June 2012

Postscript, 1 July 2012: Here is a link to a podcast made by The Financial Times in relation to the World Cities 2012 program. It features dance critic Clement Crisp and Alistair Spalding, artistic director of Sadler’s Wells. (Update August 2020: 2012 link no longer available)